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19TH & 20TH CENTURY PRINTS & DRAWINGS

by Swann Auction Galleries

Platinum House

693 lots with images

September 20, 2012

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

693 Lots
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HONORÉ DAUMIER Rue Transnonain, le 15 Avril 1834.

Lot 1: HONORÉ DAUMIER Rue Transnonain, le 15 Avril 1834.

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Description: HONORÉ DAUMIER Rue Transnonain, le 15 Avril 1834. Lithograph, 1834. 286x445 mm; 11 1/4x17 1/2 inches, wide margins. The penultimate state, sur blanc. Ex-collection the Art Institute of Chicago, with the duplicate ink stamp (Lugt supplement 32b, verso); and unknown collection, initials RE ink stamp verso (not in Lugt). A superb, dark impression of this very scarce, early lithograph. Delteil 135.

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CHARLES MERYON Le Petit Pont.

Lot 2: CHARLES MERYON Le Petit Pont.

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Description: CHARLES MERYON Le Petit Pont. Etching and drypoint, 1850. 265x190 mm; 10 3/8x7 1/2 inches, wide margins. Fourth state (of 9), with the drypoint lines in the clouds above the chimney and with the vice marks in the lower margin. Schneiderman 20.

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CHARLES MERYON Saint-Etienne du Mont.

Lot 3: CHARLES MERYON Saint-Etienne du Mont.

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Description: CHARLES MERYON Saint-Etienne du Mont. Etching and drypoint on papier verdâtre, 1852. 251x130 mm; 9 7/8x5 1/8 inches, wide margins. Fourth state (of 8). Ex-collection Mrs. Leonard Elmhirsch, New York. A superb, early impression. Schneiderman 25.

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CHARLES MERYON L'Arche du Pont Notre-Dame.

Lot 4: CHARLES MERYON L'Arche du Pont Notre-Dame.

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Description: CHARLES MERYON L'Arche du Pont Notre-Dame. Etching and drypoint, 1853. 153x195 mm; 6x7 3/4 inches, small margins. Fourth state (of 7), before the title and printer's address. Hudelist watermark. A very good impression. Schneiderman 28.

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CHARLES MERYON Le Pont-au-Change, vers 1784.

Lot 5: CHARLES MERYON Le Pont-au-Change, vers 1784.

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Description: CHARLES MERYON Le Pont-au-Change, vers 1784. Etching, 1855. 135x237 mm; 5 1/4x9 3/8 inches, full margins. Sixth state (of 6). Ex-collection C. Axel Wistrand (Lugt supplement 2630a, verso). A very good, evenly-printed and strong impression of this extremely scarce print. We have found only 5 other impressions at auction in the past 20 years. Schneiderman 52.

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CHARLES MERYON Two etchings.

Lot 6: CHARLES MERYON Two etchings.

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Description: CHARLES MERYON Two etchings. Tourelle, Rue de la Tixerandérie, 1852. 246x130 mm; 9 3/4x5 1/8 inches, wide margins. Third state (of 5), before the inscriptions. Ex-collection Mrs. Leonard Elmhirsch, New York. A superb, early impression on thin cream laid paper * Tourelle, Rue de l'École de Médecine, 22, 1861. 212x132 mm; 8 3/8x5 1/4 inches, 1/2- to 1 1/2 inch margins. Fourteenth state (of 14), though with the name of Pierron still printing partially. A fine impression on Chine collé. Schneiderman 24 and 72.

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SAMUEL PALMER The Early Ploughman.

Lot 7: SAMUEL PALMER The Early Ploughman.

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Description: SAMUEL PALMER The Early Ploughman. Etching, 1861. 133x197 mm; 5 3/8x7 7/8 inches, wide margins. Ninth state (of 9). Printed by Frank Short, Martie Hardie and Frank Griggs and initialed by each in pencil, lower left. A very good, richly-inked and luminous impression. Lister 9.

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JEAN-FRANÇOIS MILLET Le Semeur.

Lot 8: JEAN-FRANÇOIS MILLET Le Semeur.

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Description: JEAN-FRANÇOIS MILLET Le Semeur. Lithograph on thin, cream laid Japan paper, 1851. 192x156 mm; 7 5/8x6 1/8 inches, full margins. Third state (of 3). A superb, dark impression with strong contrasts and with all the subtle tonal variations printing clearly. Delteil 22; Melot 22.

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JEAN-FRANÇOIS MILLET La Cardeuse.

Lot 9: JEAN-FRANÇOIS MILLET La Cardeuse.

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Description: JEAN-FRANÇOIS MILLET La Cardeuse. Etching printed in brownish-black on light tan laid Japan paper, 1855-56. 256x177 mm; 10 1/4x7 inches, full margins. A superb, richly-inked impression with warm plate tone. Delteil 15; Melot 15.

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JEAN-FRANCOIS MILLET La Bouillie.

Lot 10: JEAN-FRANCOIS MILLET La Bouillie.

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Description: JEAN-FRANCOIS MILLET La Bouillie. Etching printed in brown on light tan Chine collé, 1861. 190x160 mm; 7 1/2x6 1/4 inches, full margins. Printed by Delâtre, Paris. A very good, evenly-printed impression with strong contrasts. Delteil 17; Melot 17.

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JEAN-FRANÇOIS MILLET Les Becheurs.

Lot 11: JEAN-FRANÇOIS MILLET Les Becheurs.

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Description: JEAN-FRANÇOIS MILLET Les Becheurs. Etching printed in dark brown on warm, cream laid Japan paper, 1855-56. 237x337 mm; 9 3/8x13 3/8 inches, full margins. Fourth state (of 4), though with most of the printer's address still showing. A superb, richly-inked impression with warm plate tone. Delteil 13; Melot 13.

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JEAN-FRANÇOIS MILLET (after) Le Paysan (Woman Binding Sheaves)

Lot 12: JEAN-FRANÇOIS MILLET (after) Le Paysan (Woman Binding Sheaves)

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Description: JEAN-FRANÇOIS MILLET (after) Le Paysan (Woman Binding Sheaves). Etching, circa 1870. 450x270 mm; 17 3/4x10 5/8 inches, full margins. A very good impression.

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JEAN-BAPTISTE-CAMILLE COROT La Jeune Fille et la Mort.

Lot 13: JEAN-BAPTISTE-CAMILLE COROT La Jeune Fille et la Mort.

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Description: JEAN-BAPTISTE-CAMILLE COROT La Jeune Fille et la Mort. Cliché-verre, 1854. 213x178 mm; 8 1/2x7 inches (sheet), small (full) margins. Very scarce, we have found only 7 other impressions at auction in the past 25 years. Delteil 45; Melot 45.

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JEAN-BAPTISTE-CAMILLE COROT La Ronde Gauloise.

Lot 14: JEAN-BAPTISTE-CAMILLE COROT La Ronde Gauloise.

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Description: JEAN-BAPTISTE-CAMILLE COROT La Ronde Gauloise. Cliché-verre, 1857. 183x142 mm; 7 1/4x5 1/2 inches. A very good impression of this scarce print. Delteil 66; Melot 66.

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JEAN-BAPTISTE-CAMILLE COROT Le Petit Berger, 2e planche.

Lot 15: JEAN-BAPTISTE-CAMILLE COROT Le Petit Berger, 2e planche.

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Description: JEAN-BAPTISTE-CAMILLE COROT Le Petit Berger, 2e planche. Cliché-verre, 1862. 393x310 mm; 15 1/2x12 1/4 inches (sheet), full margins. Second state (of 2). A superb impression of this very scarce print. Delteil 50; Melot 50.

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JEAN-BAPTISTE-CAMILLE COROT Souvenir d'Italie.

Lot 16: JEAN-BAPTISTE-CAMILLE COROT Souvenir d'Italie.

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Description: JEAN-BAPTISTE-CAMILLE COROT Souvenir d'Italie. Etching and drypoint printed in black on cream laid paper, 1863. 294x220 mm; 11 5/8x8 3/4 inches, full margins. Second state (of 4), with the address of Cadart and Chevalier, lower center, the address of the printer, Delâtre, lower right, and the number upper right. A brilliant, richly-inked impression. Delteil 5; Melot 5.

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CHARLES-FRANÇOIS DAUBIGNY La Gardeuse de chèvres.

Lot 17: CHARLES-FRANÇOIS DAUBIGNY La Gardeuse de chèvres.

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Description: CHARLES-FRANÇOIS DAUBIGNY La Gardeuse de chèvres. Cliché-verre, 1862. 407x306 mm; 16x12 inches, full margins. A large, scarce cliché-verre. We have found only 6 other impressions at auction in the past 25 years. The last impression sold at Swann, March 6, 2007, sale 2106, lot 132. Delteil 141; Melot 141.

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THÉODORE ROUSSEAU Vue du Forêt de Fontainebleau.

Lot 18: THÉODORE ROUSSEAU Vue du Forêt de Fontainebleau.

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Description: THÉODORE ROUSSEAU Vue du Forêt de Fontainebleau. Pen and ink wash on heavy cream wove paper. 240x165 mm; 9 1/2x6 1/2 inches. Signed and annotated in ink, lower margin. The long inscription below the drawing loosely translates: "I am sending a little drawing, in memory of the walk we took in the antique forest of Fountainebleau that we have always called l'Arcadia, still vibrant as one of the written poems."

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ÉDOUARD MANET Le Chanteur Espagnol.

Lot 19: ÉDOUARD MANET Le Chanteur Espagnol.

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Description: ÉDOUARD MANET Le Chanteur Espagnol. Etching printed in black on cream laid paper, 1861-62. 300x245 mm; 11 7/8x9 5/8 inches, full margins. Fifth state (of 7). From the edition published in L'Artiste, Paris, 1867. A superb, richly-inked impression with strong contrasts and all the fine details printing clearly. Guérin 16; Harris 12.

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ÉDOUARD MANET L'Infante Marguerite.

Lot 20: ÉDOUARD MANET L'Infante Marguerite.

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Description: ÉDOUARD MANET L'Infante Marguerite. Etching printed in brownish black on cream laid paper, 1862. 230x190 mm; 9 1/8x7 1/2 inches, full margins. A very good, dark impression. Guérin 6; Harris 14.

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ÉDOUARD MANET Olympia.

Lot 21: ÉDOUARD MANET Olympia.

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Description: ÉDOUARD MANET Olympia. Etching printed in black on cream laid paper, 1867. 88x178 mm; 3 1/2x7 inches, full margins. Sixth state (of 6). A very good, dark impression with strong contrasts and crisp, partially inky plate edges. Guérin 39; Harris 53.

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ÉDOUARD MANET Olympia (Grande Planche).

Lot 22: ÉDOUARD MANET Olympia (Grande Planche).

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Description: ÉDOUARD MANET Olympia (Grande Planche). Etching printed in black on cream laid paper, 1867. 163x242 mm; 6 3/8x9 1/2 inches, full margins. Fourth state (of 4). A very good, dark impression with strong contrasts. Guérin 40; Harris 52.

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ÉDOUARD MANET Polichinelle.

Lot 23: ÉDOUARD MANET Polichinelle.

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Description: ÉDOUARD MANET Polichinelle. Color lithograph on cream wove paper, 1874. 470x336 mm; 18 1/2x13 1/4 inches, small margins. Fourth state (of 4). Signed in ink, lower right. Printed by Lemercier, Paris. A very good impression of this extremely scarce lithograph, with strong colors. Guérin 79; Harris 80.

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ÉDOUARD MANET (after) Le Déjeuner sur l'herbe

Lot 24: ÉDOUARD MANET (after) Le Déjeuner sur l'herbe

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Description: ÉDOUARD MANET (after) Le Déjeuner sur l'herbe. Color aquatint and etching, 1929. 500x630 mm; 19 5/8x24 7/8 inches, full margins. Signed and numbered 200/200 by Villon in pencil, lower margin. Etched by Jacques Villon, Paris. Published by Galerie Bernheim-Jeune, Paris. A very good, well-inked impression with vibrant colors. Ginestet/Pouillon 668 (Villon).

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PORTFOLIO Histoire d'Édouard Manet et de son oeuvre.

Lot 25: PORTFOLIO Histoire d'Édouard Manet et de son oeuvre.

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Description: PORTFOLIO Histoire d'Édouard Manet et de son oeuvre. Bound volume with complete text, 2 etchings by Manet, one wood engraving after Manet and numerous illustrations, 1902. 255x165 mm; 10x6 1/2 inches (sheets), full margins. Edition of 600. Published by Floury, Paris. 1/2-Morocco and marble paste board binding. With the etchings Le Gamin (Guérin 71; Harris 30) and Olympia (Guérin 40; Harris 52). Very good impressions.

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JAMES A. M. WHISTLER The Rag Gatherers.

Lot 26: JAMES A. M. WHISTLER The Rag Gatherers.

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Description: JAMES A. M. WHISTLER The Rag Gatherers. Etching on cream laid paper, 1857. 155x90 mm; 6x3 1/2 inches, wide margins. MacDonald's fifth state (of 5). A very good impression. Kennedy 23; MacDonald 29.

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JAMES A. M. WHISTLER La Vieille aux Loques.

Lot 27: JAMES A. M. WHISTLER La Vieille aux Loques.

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Description: JAMES A. M. WHISTLER La Vieille aux Loques. Etching and drypoint on thin, antique cream laid paper, 1858. 208x147 mm; 8 1/8x5 7/8 inches, full margins. MacDonald's second state (of 3). From Twelve Etchings from Nature. A very good, richly-inked impression. Kennedy 21; MacDonald 41.

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JAMES A. M. WHISTLER Annie Seated.

Lot 28: JAMES A. M. WHISTLER Annie Seated.

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Description: JAMES A. M. WHISTLER Annie Seated. Etching printed on thin, cream laid paper, 1858. 129x96 mm; 5 1/8x3 3/4 inches, full margins. MacDonald's third state (of 3). A good impression with warm plate tone. Kennedy 30; MacDonald 32.

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JAMES A. M. WHISTLER Street at Saverne.

Lot 29: JAMES A. M. WHISTLER Street at Saverne.

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Description: JAMES A. M. WHISTLER Street at Saverne. Etching printed in black on greenish cream laid paper, 1858. 208x158 mm; 8 1/8x6 1/4 inches, wide margins. MacDonald's fourth state (of 4). From Twelve Etchings from Nature. A very good impression with all the fine details printing clearly. Kennedy 19; MacDonald 14.

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JAMES A. M. WHISTLER Greenwich Park.

Lot 30: JAMES A. M. WHISTLER Greenwich Park.

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Description: JAMES A. M. WHISTLER Greenwich Park. Etching on cream wove paper, 1858. 128x201 mm; 5 1/8x8 inches, full margins. MacDonald's third state (of 3). A superb, dark impression with crisp, inky plate edges. Kennedy 35; MacDonald 41.

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JAMES A. M. WHISTLER The Storm.

Lot 31: JAMES A. M. WHISTLER The Storm.

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Description: JAMES A. M. WHISTLER The Storm. Drypoint printed in black on bluish cream laid paper, 1861. 157x285 mm; 6 1/4x11 1/4 inches, full margins. MacDonald's third state (of 3), though with the unobtrusive cancellation lines diminished and with minimal signs of deterioration. A superb, richly-inked impression of this extremely scarce print. According to Kennedy, "only 4 impressions are known before cancellation of the plate." According to MacDonald, the cancelled plate was acquired by the Fine Art Society, London, in 1879, who issued a small edition. Finally, H. Wunderlich & Co., New York, published "a fairly limited edition of at least 12 in 1889." Kennedy 81; MacDonald 81.

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FRANCIS SEYMOUR HADEN A Sunset in Ireland.

Lot 32: FRANCIS SEYMOUR HADEN A Sunset in Ireland.

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Description: FRANCIS SEYMOUR HADEN A Sunset in Ireland. Drypoint on heavy cream wove paper, 1863. 139x215 mm; 5 1/2x8 1/2 inches, wide margins. Thirteenth state (of 14). Signed in pencil, lower right. A brilliant, luminous impression with richly-inked, velvety burr. Schneiderman 47.

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FRANCIS SEYMOUR HADEN Two prints.

Lot 33: FRANCIS SEYMOUR HADEN Two prints.

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Description: FRANCIS SEYMOUR HADEN Two prints. Fulham, etching and drypoint, 1859. 115x280 mm; 5 3/4x11 inches, full margins. Signed, titled and inscribed "Early Imp" in pencil, lower margin * An Early Riser, mezzotint, 1897. 226x299 mm; 8 7/8x11 3/4 inches, full margins. Fourth state (of 4). Signed in pencil, lower right. Schneiderman 22 and 226.

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FRANCIS SEYMOUR HADEN Two mezzotints.

Lot 34: FRANCIS SEYMOUR HADEN Two mezzotints.

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Description: FRANCIS SEYMOUR HADEN Two mezzotints. A Salmon River, No. II, 1884. Third state (of 4). Signed in pencil, lower right * Grayling Fishing, 1897. Fourth state (of 5). Signed in pencil, lower right. Very good impressions of these scarce prints. With--Grim Spain, etching, 1877. First state (of 2) * A Lancashire River, etching, 1881. Seventh state (of 9). Signed in pencil, lower left. Various sizes and conditions. Schneiderman 214, 227, 173 and 203.

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FRANCIS SEYMOUR HADEN Group of 4 etchings.

Lot 35: FRANCIS SEYMOUR HADEN Group of 4 etchings.

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Description: FRANCIS SEYMOUR HADEN Group of 4 etchings. The Towing Path, 1864. Ninth state (of 17) * Twickenham Church, 1865. Fourth state (of 5) * The Two Sheep, 1870. Fourth state (of 5) * Breaking Up the Agamemnon, No. 1, 1870. Eighth state (of 11). Each signed in pencil, lower right. Various sizes and conditions. Schneiderman 72, 98, 132 and 133.

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JAMES A. M. WHISTLER Eagle Wharf.

Lot 36: JAMES A. M. WHISTLER Eagle Wharf.

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Description: JAMES A. M. WHISTLER Eagle Wharf. Etching on cream laid paper, 1859. 138x213 mm; 5 1/2x8 3/8 inches, full margins. MacDonald's first state (of 2), before cancellation. Partial Hudelist watermark. A brilliant, early impression with strong contrasts and crisp, inky plate edges. Kennedy 41; MacDonald 50.

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JAMES A. M. WHISTLER Black Lion Wharf.

Lot 37: JAMES A. M. WHISTLER Black Lion Wharf.

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Description: JAMES A. M. WHISTLER Black Lion Wharf. Etching on cream laid paper, 1859. 150x225 mm; 5 7/8x8 7/8 inches, wide (full ?) margins. MacDonald's fourth state (of 4). A superb, dark and evenly-printed impression with strong contrasts. Kennedy 42; MacDonald 54.

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JAMES A. M. WHISTLER Longshoremen.

Lot 38: JAMES A. M. WHISTLER Longshoremen.

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Description: JAMES A. M. WHISTLER Longshoremen. Etching on tissue-thin, cream laid Japan paper, 1859. 152x225 mm; 6x8 7/8 inches, full margins. MacDonald's fourth state (of 4). A brilliant, richly-inked, luminous impression with warm plate tone. Kennedy 45; MacDonald 52.

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JAMES A. M. WHISTLER Billingsgate.

Lot 39: JAMES A. M. WHISTLER Billingsgate.

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Description: JAMES A. M. WHISTLER Billingsgate. Etching on cream laid paper, 1859. 152x226 mm; 6x8 7/8 inches, small margins. MacDonald's ninth state (of 9), before cancellation and with a dot in the sky to the right of the clock tower and above the lines indicating clouds. A very good impression. Kennedy 47; MacDonald 51.

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JAMES A. M. WHISTLER Bibi Lalouette.

Lot 40: JAMES A. M. WHISTLER Bibi Lalouette.

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Description: JAMES A. M. WHISTLER Bibi Lalouette. Etching and drypoint on antique cream laid paper, 1859. 230x153 mm; 9x6 inches, wide margins. MacDonald's second state (of 3), before cancellation and with the hooked drypoint scratch across the blouse burnished. A brilliant, richly-inked impression with all the fine lines printing clearly, with strong contrast between the child's head and background, with warm plate tone and crisp, partially inky plate edges; the burnishing on the 2 heads formerly in the lower left and lower right showing clearly. Kennedy 51; MacDonald 33.

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JAMES A. M. WHISTLER Becquet.

Lot 41: JAMES A. M. WHISTLER Becquet.

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Description: JAMES A. M. WHISTLER Becquet. Etching and drypoint on antique cream laid paper, 1859. 256x195 mm; 10 1/8x7 3/4 inches, full margins. MacDonald's sixth state (of 6). A brilliant, richly-inked impression. This portrait of Becquet, a musician friend of Whistler's, was etched in Paris during the autumn of 1859. Like most of his portraits from this period, the focus is on the face of the sitter, whose profession is suggested by the lightly-sketched cello between the legs. Kennedy 52; MacDonald 62.

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JAMES A. M. WHISTLER Drouet.

Lot 42: JAMES A. M. WHISTLER Drouet.

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Description: JAMES A. M. WHISTLER Drouet. Etching and drypoint on heavy cream laid paper, 1859. 227x153 mm; 8 7/8x6 inches, wide margins. MacDonald's first state (of 2). A richly-inked impression with warm plate tone. Kennedy 55; MacDonald 35.

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JAMES A. M. WHISTLER The Forge.

Lot 43: JAMES A. M. WHISTLER The Forge.

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Description: JAMES A. M. WHISTLER The Forge. Drypoint on cream laid paper, 1861. 195x315 mm; 7 5/8x12 3/8 inches, full margins. MacDonald's sixth state (of 6). A superb impression with richly-inked burr. Kennedy 68; MacDonald 86.

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JAMES A. M. WHISTLER Old Hungerford Bridge.

Lot 44: JAMES A. M. WHISTLER Old Hungerford Bridge.

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Description: JAMES A. M. WHISTLER Old Hungerford Bridge. Etching on cream laid paper, 1861. 139x210 mm; 5 1/2x8 1/4 inches, wide margins. MacDonald's fourth state (of 4). A very good impression with warm plate tone. Kennedy 76; MacDonald 76.

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JAMES A. M. WHISTLER The Punt.

Lot 45: JAMES A. M. WHISTLER The Punt.

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Description: JAMES A. M. WHISTLER The Punt. Etching on ivory wove paper, 1861. 120x165 mm; 4 3/4x6 1/2 inches, full margins. MacDonald's sixth state (of 6). A very good impression. Kennedy 85; MacDonald 82.

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JAMES A. M. WHISTLER The Old Swan Brewery, Chelsea.

Lot 46: JAMES A. M. WHISTLER The Old Swan Brewery, Chelsea.

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Description: JAMES A. M. WHISTLER The Old Swan Brewery, Chelsea. Etching on antique, cream laid paper, 1872-73. 67x99 mm; 2 5/8x3 7/8 inches, full margins. Signed with the butterfly and titled "Swan Brewery" in pencil, lower right. A very good impression of this extremely scarce etching. Kennedy 98; MacDonald 105.

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JAMES A. M. WHISTLER The Boy (Charlie Hanson).

Lot 47: JAMES A. M. WHISTLER The Boy (Charlie Hanson).

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Description: JAMES A. M. WHISTLER The Boy (Charlie Hanson). Drypoint printed in black on antique cream laid paper, 1875-76. 226x150 mm; 8 7/8x6 inches, full margins. MacDonald's third state (of 8). MacDonald notes approximately only 12 impressions in all 8 states. Inscribed "On old Dutch paper" in pencil and with an earlier, 17th-century (?) inscription in Dutch in ink, verso (the comparable third state impression MacDonald cites in the Art Institute of Chicago, Charles Deering Collection, is also on antique paper with an early Dutch inscription in ink on the verso). Countermark with the letters LL watermark. Ex-collection Howard Mansfield (Lugt 1342, verso). A brilliant, early impression of this extremely scarce drypoint, with richly-inked, velvety burr and strong contrasts. This impression cited by Kennedy (as his third state) with the Mansfield provenance. Lugt credits Mansfield's Whistler collection, which included some 582 etchings, drypoints and lithographs as one of the top three in the world. Mansfield's collection was sold in 1919 to Harris G. Whittemore, Naugatuck, CT, for between $300,000 and $350,000 (roughly $4.5 million today). Charles James Whistler Hanson (1870-1935) was Whistler's illegitimate son with Louisa Fanny Hanson, who is said to have been a parlor maid. He was cared for by Joanna Hiffernan, another of Whistler's mistresses, despite the fact that Whistler had been unfaithful to her. Hiffernan continued to look after Hanson as late as 1880, even while Whistler was away in Venice with Maud Franklin, then his current mistress. Whistler's relationship with Hanson was never close; the artist failed to attend his son's wedding in 1896 due to the death of his wife Beatrix, apparently nor did he approve of the union. We have not found another impression at auction in the past 25 years. Kennedy 135; MacDonald 145 (this impression cited by MacDonald, as exhibited at the "Whistler Memorial Exhibition," Boston, 1904, current whereabouts unknown).

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JAMES A. M. WHISTLER A Lady at a Window.

Lot 48: JAMES A. M. WHISTLER A Lady at a Window.

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Description: JAMES A. M. WHISTLER A Lady at a Window. Drypoint printed in black on cream laid paper, 1875-77. 235x160 mm; 9 1/4x6 1/4 inches, narrow margins. MacDonald's fourth state (of 4), after cancellation. Edition of approximately 20 after cancellation. Published by The Fine Art Society, London. A good impression of this extremely scarce drypoint. According to MacDonald, only 2 impressions are known before cancellation. Kennedy 138; MacDonald 148.

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JAMES A. M. WHISTLER Whistler with the White Lock.

Lot 49: JAMES A. M. WHISTLER Whistler with the White Lock.

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Description: JAMES A. M. WHISTLER Whistler with the White Lock. Etching and drypoint on cream laid paper, 1879. 119x80 mm; 4 5/8x3 1/8 inches, small margins. Van Gelder script watermark. Likely from the set of "cancelled" plates issued by The Fine Art Society, London, 1879, in an edition of approximately 20, though according to MacDonald, this is evidently the only plate in the set that was not actually cancelled but just unfinished. A good impression of this very scarce etching with crisp, partially inky plate edges. This is the last of 3 etched self portraits Whistler created and the only one showing his signature white lock of hair. It was published by The Fine Art Society in London shortly before his departure for Venice and on his face is perhaps a hint of the weariness brought on by the troubles of the Ruskin libel trial. Kennedy 172; MacDonald 162.

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JAMES A. M. WHISTLER The

Lot 50: JAMES A. M. WHISTLER The "Adam and Eve," Old Chelsea.

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Description: JAMES A. M. WHISTLER The "Adam and Eve," Old Chelsea. Etching and drypoint on tissue-thin cream laid paper, 1879. 176x303 mm; 7x12 inches, full margins. MacDonald's second state (of 3). A superb impression. Kennedy 175; MacDonald 182.

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